Set-up for a good Jazz tone

bassvi · #1 10-12-2008, 11:50 AM

I apologize if this has been discussed here before, but I'm not having success with the search function-

I have a bass that I want to set up for optimum jazz sound. I'm mainly an orchestra player and have another bass I'm already using for that so I don't really need to find a compromise.

Right now I have my action set low on my "jazz" bass with a Realist transducer attached and it just sounds bland to me. I know there are lots of differing opinions on what a good tone is so this may be kind of a subjective question, but I would like to be able to approach a tone similar to Ray Brown or Charlie Haden if possible (who wouldn't, right?) I would also like to have some of that "Mwaah" in my sound but I'm not currently getting much of it on this bass.

If anyone can offer advice on strings, set-up, technique, amplification, etc. that could help I would really appreciate it.
Thanks.

jallenbass · #2 10-12-2008, 12:10 PM

What strings and amp are you currently using?

fingers · #3 10-12-2008, 12:32 PM

...and bass.

bassvi · #4 10-12-2008, 01:12 PM

I have a Solano Quenoil- copy (smallish 3/4 bass, French-style, sloping shoulders, similar to Francois Rabbath's bass)

I have Corelli Forte TX for the G and D strings and Helicore orchestra mediums for the A and E- definitely not optimum! At my school last year we got a Bromberg Wood/Chinese model from Lemur with Obligatto's which I really like- and this bass sounds way better than my Solano currently does too, at half the price which frustrates me! I'm hoping I can get the Solano in the same ball park, at least.

I have a Markbass Mini 1x12 combo that I upgraded to from an Ampeg BA112, which I still own.

hdiddy · #5 10-12-2008, 01:28 PM

This has been covered umpteen times. Check the newbie links and use the search tool. You're looking mainly for string changes and the right nut height for growl.

**Chris Fitzgerald** · #6 10-12-2008, 02:00 PM

If you have adjuster wheels, try raising them a half turn at a time and checking the change in sound. A lot of jazz players have their basses set up for "medium" string height to help produce a stronger acoustic sound.

String tension may also have something to do with the quality and volume of sound produced. If you have light, low tension strings, you'll have to set them higher to equal the volume of heavier, tenser strings. It's a tradeoff, and each player has to find his/her comfort zone. One of the reasons I like relatively high tension strings in addition to volume and clarity is that they tend to speak very quickly.

What is your string height from the G to the E in millimeters measured from the bottom of the string to the fingerboard at the end of the board?

**Matthew Tucker** · #7 10-12-2008, 04:03 PM

Quote:

Originally Posted by bassvi

... Quenoil-copy (smallish 3/4 bass, French-style, sloping shoulders, similar to Francois Rabbath's bass)

My experience is that this sort of bass isn't usually seen in a jazz setting and there's probably a reason. Corellis, the same thing.

Does it just sound bland through the amp, or acoustically as well?

I think, try Thomastic mittels for a start and see what happens to volume and punch and sustain.

The other think to think about if you're primarily an orchestral player is your pizz technique. You want to play lower on the fingerboard, play a lot stronger with a sideways pull on the strings to get a good jazz tone. As Chris said, you might need to raise your string height a bit to get this right.

bassvi · #8 10-12-2008, 05:34 PM

I really appreciate everyone's responses here and welcome your advice and opinions, Thanks!

uprightben · #9 10-13-2008, 06:29 AM

I agree with Mathew that different strings and different tecnique are probably the best things to focus on. I have corelli 370 m on my bass now, but my bass is really tight and likes low tension, my experience with hellicore orchs is that they are very anti-mwah, but they bow great.

I think mathew's description of how to do a jazz pizz is dead on, and I would like to add that the direction you pull the string, ie. parallel to the f.board or perpendicular has a huge impact on tone. Also, since you will be pulling the string with your finger sideways and with as much finger-meat as possible, whether or not you keep the first knuckle on your finger relaxed is important. Basicaly, there are a million variables, you just have to put in the time to figure out what works best for you.

Eli_Upright12 · #10 10-13-2008, 06:43 AM

Spirocores seem to be a sure fire way to at least get some results from a jazz bass. It seems like thats what they're built for.

bonaventura · #11 10-20-2008, 12:06 PM

I'm not an orchestra player, play mostly jazz. One other thing worth mentioning here (besides strings and string height as everyone immediately pointed out) is that jazz is said to require a somewhat brighter sound than the orchestra bassist usually might want. The jazz bassist wants a brighter sound to cut through the mix and solo pizz audibly, while the orchestra player wants the deep dark tones made sweet by the bow. You can brighten up the sound with strings that play differently, but you can also get a lighter tailpiece, longer tailpiece wire/string, and thin out the bridge top, for starters....